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Home , English Touring Opera, Esther (Handel), Gary Cooper (musician), London Handel Festival, Madeleine Boyd, Orlando (opera)

INDEPENDENT presents Handel’s Saturday 21 June 2008, 7pm Welcome Messages from Independent Opera

It gives me great pleasure to welcome Independent Opera to INDEPENDENT OPERA at Sadler’s Wells was created in 2005 Wigmore Hall. I salute this valuable young organisation and all to provide a performance platform for talented young it has achieved over such a short timescale. directors, designers, singers and others involved in the staging and performance of opera. We are delighted to partner with Independent Opera for the Wigmore Hall / Independent Opera Voice Fellowship and Building on the success of our first two productions, I applaud the pioneering work of Independent Opera’s INDEPENDENT OPERA Artist Support was launched in 2007. extensive fellowship programme as well as its commitment to This is a comprehensive programme of fellowships and a wide range of repertoire. scholarships designed to help promising young artists in the period immediately after their formal education ends. It funds I hope that you enjoy tonight’s performance of Orlando. singing lessons, coaching sessions and other activities that will help them make their way professionally. Our partnership with Wigmore Hall is particularly rewarding and provides a fellowship for a singer intent on pursuing a career in both opera and song. We welcome enquiries from individuals interested in sponsoring a fellowship. More information about Artist Support can be found at the back of this programme. John Gilhooly Director We hope you enjoy this evening’s performance of musical Wigmore Hall extracts from our 2006 production of Orlando.

Anna Gustafson Director of Operations & Chief Executive, Artist Support Independent Opera at Sadler’s Wells

Honorary Patrons It is with great pleasure that we present this performance DENT O EN PE EP R of Orlando at Wigmore Hall tonight. Our sell-out 2006 D A a IN Michael Grandage t production of Orlando in the intimate setting of the Lilian S a Wasfi Kani OBE d Baylis Theatre, Sadler’s Wells, prompted us to revive this

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Nicholas Payne r rarely performed music in a concert venue.

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l Trustees s In order to adapt this work to a concert format, we have Annita Bennett focused on the arias and ensembles and have omitted most Judith Bollinger of the . However, in order to ensure narrative Nigel Carrington continuity, we have provided in this programme a synopsis Wilson Kerr running alongside the .

Founding Patrons Judith Bollinger William Bollinger

Alessandro Talevi Artistic Director 2008 Independent Opera at Sadler’s Wells

www.independentopera.com Future Dates 18, 20, 22 November 2008 Registered Charity no. 1117559 Sadler’s Wells, Lilian Baylis Theatre: Pelléas et Mélisande Orlando (1733)

By (1685-1759) Libretto by the composer Adapted from Carlo Sigismondo Capece’s L’Orlando After ’s

Cast Orlando William Towers Rebecca Ryan Medoro Christopher Ainslie Dorinda Martene Grimson Zoroastro Nicholas Warden

Orchestra & Conductor Violins Albrecht Kuehner, Madeleine Easton, Bojan Ciˇci´c,ˇ George Crawford, Camilla Scarlett Viola Louise Hogan Cello Tim Smedley Double Sarah Halpin Oboes Kate Latham, Sarah Humphrys Bassoon Lizbeth Elliott Theorbo Matthew Wadsworth Horns Nicholas Benz, Richard Lewis

Presented by Independent Opera at Sadler’s Wells Director of Operations & Chief Executive, Artist Support Anna Gustafson Artistic Director Talevi

Saturday 21 June 2008, 7pm Wigmore Hall

The first performance of Orlando was given at the King’s Theatre in London on 27 January 1733. There were ten performances but it was not revived thereafter. The first modern British production was at the Unicorn Theatre, Abingdon, on 6 May 1959.

Would patrons please ensure that mobile phones are switched off. Please stifle coughing as much as possible and ensure that watch alarms and any other electronic devices which may become audible are switched off. The life and times of Handel’s Orlando Stephen Pettitt

or one reason or another, the world of opera has venue had become available – the new theatre at Covent F always been a world of debate, of politicking, Garden, established by none other than John Rich, who of fashions, of intrigue. That was as true in the early had produced John Gay’s Beggar’s Opera, which satirised 17th century as it is true in the early 21st century, when the fashion for , in 1728 at the New Theatre, the comparative fortunes of and Lincoln’s Inn. Handel seized the chance to transfer his House provide endless opportunity for operatic operations there. He was not to be beaten. journalistic observation, speculation and (let’s be honest) pure inventiveness. In the London of 1732 there was And indeed, commercial considerations aside, neither certainly a spirit of controversy in the operatic air. It was the attraction of writing , nor the threat of opera centred on one man, George Frideric Handel, who’d held in the vernacular, nor the prospect of the Opera of the sway as the master of London’s operatic scene since the Nobility had quelled Handel’s appetite for composing first performance of back in 1711. opera in Italian – quite the contrary, in fact. In the decade after 1732 he was to write another dozen such pieces, Handel was clearly up to something. Early in 1732 there culminating with in 1741. He wrote Orlando, had been three staged performances of his English masque to a libretto adapted (maybe by himself) from Carlo , written 14 years before, in the large meeting room Sigismondo Capece’s 1711 libretto after Ariosto’s at the Crown and Anchor Tavern in the Strand. But on 2 drama, at characteristically break-neck speed during the May the work was given in a greatly expanded form at the first three weeks of November 1732, finishing the score King’s Theatre, Haymarket, where Handel’s Royal Academy on the 20th of that month. of Music company was the leaseholder. The advertisement in The Daily Journal reported that “There will be no Action Besides being what one might consider the first of on the Stage, but the House will be fitted up in a decent Handel’s late operatic masterpieces, Orlando is one Manner, for the Audience. The music to be disposed after of a sequence of “magic” whose predecessors the Manner of the Coronation Service.” Thus Handel gave include Rinaldo and . While it is true that its birth to English oratorio. arias are still predominantly in the da capo, A-B-A format of – though Orlando himself has only Often it’s assumed that this was the action of a man three arias so structured – the work also shows a new who knew that he was under threat and needed to take sense of continuity, with short aria forms, a number of new directions. After all, now his company found itself accompanied , and a flexible use of ensembles. with rivals, just across the road. The Arnes – father and In Handel’s hands what is often seen as the rather son, both called Thomas – and John Lampe were staging rigid mould of Metastasian opera was being radically English opera at the Little Haymarket Theatre. Conscious re-shaped. The “” at the end of Act Two is a of the fact that Handel was haemorrhaging a large part good example. It follows a 17th-century tradition by being of his audience to the place on the other side of the constructed as a series of apparently unrelated episodes. street, Handel’s friend, the playwright and sometime But there is something else. Besides including a few theatre manager (and co-librettist for Rinaldo) Aaron Hill, notorious bars in quintuple time, as Orlando imagines prevailed upon him in a letter of 5 December 1732 to try himself descending into Hades, there’s also a recurrent his own hand at writing English opera, “to deliver us from Gavotte-like passage that symbolises Orlando’s struggle our Italian bondage”. Handel did not reply. to retain his mind – a neat musically unifying device that serves a psycho-dramatic purpose. Before long, the Little Haymarket Theatre’s activities would not be Handel’s only competition. In 1732 the idea of Sir John Hawkins, in his A General History of the Science setting up a rival Italian opera company to Handel’s was and Practice of Music (1776), opines that in Handel’s already being mooted. This new company, to be known as the post-1728 operas “it is a matter of some difficulty” , was financed by a young aristocracy at to find a good aria. We can hardly comprehend such a whose head was the notoriously profligate Frederick, Prince remark today. Handel’s music in the 1730s does indeed of Wales. The composer Nicola Porpora was what we might undergo a change. But far from being a lessening of his call its artistic director. The reasons for creating the Opera of powers it is rather a deepening. Orlando, in fact, is the the Nobility project were surely in large part political. Some, first of a stream of works which include his other two no doubt, felt that Handel’s power over London’s opera scene operas drawn from Ariosto, and , as well undermined the status of the aristocracy, which was used to as Arianna, and that can all now pulling the cultural strings all over the civilised world. (It was be comfortably and confidently labelled as masterpieces. to be another half-century before Mozart “invented”, as it As is so often the case with Handel, Orlando’s appeal were, the concept of the freelance composer.) to us rests on the fact that it is an opera about the human psyche. Its characters are complex, self-exploring Thus Handel’s fall from grace was widely predicted. individuals, stranded in a strange world of fantasy. It Notoriously impatient with singers, he had to face in is only appropriate that, daringly, Orlando’s final aria is 1733 the migration of most of his company to the Opera through-composed. For such a moment, whatever the of the Nobility, though he fought back by assembling dictates of the age, the old, staid formula would just not another, equally good, team of Italians. And in 1734 his do for a composer as free-thinking as Handel. lease on the King’s Theatre expired. Gallingly, the Opera of the Nobility moved in in his place. But by then another © Stephen Pettitt 2006

4 Handel’s Orlando

ACT I

Overture Accompagnato and Recitativo: Zoroastro : Orlando Aria: Zoroastro Accompagnato: Orlando Aria: Orlando Accompagnato: Dorinda Aria: Dorinda Arioso: Aria: Medoro Aria: Dorinda Aria: Angelica Recitativo: Orlando Aria: Orlando Terzetto: Medoro, Angelica and Dorinda

ACT II

Arioso: Dorinda Aria: Dorinda Recitativo: Orlando Aria: Orlando

INTERVAL (20 minutes)

Aria: Zoroastro Recitativo: Angelica and Medoro Aria: Medoro Aria: Angelica Recitativo: Angelica Aria: Angelica Recitativo: Orlando and Angelica Accompagnato: Orlando

ACT III

Sinfonia Aria: Medoro Recitativo: Dorinda Aria: Dorinda Accompagnato and Recitativo: Zoroastro Aria: Zoroastro Duet: Angelica and Orlando Accompagnato: Orlando Arioso: Orlando Recitativo and Accompagnato: Zoroastro Sinfonia Arioso: Orlando

Finale

Wigmore Hall is a no-smoking venue. No recording or photographic equipment may be taken into the auditorium, nor used in any other part of the Hall without the prior written permission of the Hall Management. Wigmore Hall is equipped with a ‘Loop’ to help hearing aid users receive clear sound without background noise. Patrons can use the facility by switching their hearing aids over to ‘T’. In accordance with the requirements of City of Westminster, persons shall not be permitted to stand or sit in any of the gangways intersecting the seating, or to sit in any of the other gangways. If standing is permitted in the gangways at the sides and rear of the seating, it shall be limited to the numbers indicated in the notices exhibited in those positions. Act I

synopsis Overture Accompagnato and Recitativo: Zoroastro

The magus Zoroastro studies the stars, Gieroglifici eterni, che in zifre luminose ognor splendete, Eternal symbols, that shine in radiant light, divining in their patterns that the ah! che alla mente umana altro che belle oscurità non siete! You are nothing but a mysterious beauty to mortal minds! errant Carolingian knight Orlando will not always be a foe to valour and duty. Pur il mio spirto audace crede veder scritto là su in le stelle, I can now see, written in the stars, che Orlando, eroe e sagace, non fia sempre rubelle. That Orlando, the great hero, will not rebel against his Ecco, sen vien, su, miei consigli, all’opra! destiny forever. Here he comes now – to work, my counsels!

Arioso: Orlando

Orlando appears, torn between his Stimuato dalla , agitato dall’amore, Stirred by glory, yet agitated by love, ordained role as a warring knight and che farai, misero core? what will you choose, my miserable heart? his love for the princess Angelica, Queen of Cathay. Aria: Zoroastro

Zoroastro challenges Orlando to return Lascia Amor, e segui Marte, Leave Venus, and follow Mars, to his true path; after showing Orlando Va! Combatti, combatti per la gloria. Go! To battle, fight for glory. disturbing images of his downfall and spiritual decay, he exhorts him to Sol oblio quel ti comparte, Love prepares only oblivion for you, abandon Venus and follow Mars. questo sol bella memoria. Only war will crown your name.

Accompagnato: Orlando

Orlando hesitates for a moment… Immagini funeste, che turbate quest’alma, Depressing images, how you sadden me, before resolving to have both. e non avrò sopra di voi la palma? Shall I ever be able to defeat you?

Si, già vi fuggo e corro, a inalzar col valor novi trofei! Yes, I reject you all and hurry to raise new trophies of valour! Ti rendo, o bella gloria, i affetti miei! I give you, Glory, my full devotion. Ma, che parlo, e non moro! e lascierò quell idolo che adoro? But, can I say this, and not die within! How could I No!, parto! e fia mia gloria più servir ad amor abandon the idol I adore? ch’aver vittoria! No, I leave, and my glory shall be greater in love’s service, and achieve victory!

Aria: Orlando

Non fu già men forte Alcide was not weakened Benchè in sen d’Onfale bella spesso l’armi egli posò; When he laid his arms on the soft breast of Omphale;

Nè men fiero il gran Pelide Nor was Achille’s rage less fiery, Sotto spoglie di donzella d’Asia regni minacciò. When he threatened Asia’s kingdoms disguised as a woman.

Accompagnato: Dorinda

Dorinda, a shepherdess, contemplates Quanto diletto avea tra questi boschi! How delightful it is in these woods! the beauty of nature, and yet feels the a rimirar quegli innocenti scherzi e di Capri, e di cervi, To watch the harmless play of goats and deer, pangs of love stirring within her. nel serpeggiar dei limpidi ruscelli, To see the snaking crystal streams, She has been giving shelter to brillar i fior ed ondeggiar le piante, The blooming flowers, and undulating plants, Angelica and the Moorish soldier nel garir degli augelli, nello spirar di zeffiretto i fiati! The cooing of birds, and the breath of balmy breezes! Medoro, whom Angelica found near Oh giorni, allor beati, ora per me funesti! Oh, blessed days, now, for me, wretched! death and brought to the shepherdess to help nurture him back to health. Aria: Dorinda

Orlando appears, rescuing the hapless Ho un certo rossore, di dir quel che sento I blush, to speak about what I feel princess Isabella from her captors. s’è gioia o tormento, s’è gelo o un ardore, s’è alfine… nol so. Whether it’s ice or fire… I don’t know. Dorinda, mistakenly believing Orlando to be in love with Isabella, comments Pur piccolo meco bisogna che sia piacere, dolore, It must be small though, my share of pleasure or sadness, that she may well have something in s’è l’anima mia rinchiudere lo può. If my soul is able to conceal it all. common with him – but is it really love that she is feeling? Act I

Arioso: Angelica and Medoro

Angelica appears, and recalls the A: Ritornava al suo bel viso, fatto già bianco e vermiglio, Returning to his beautiful face, lily mixing with rose, moment she saw the injured Medoro Con la rosa unito il giglio dal pallor delle viole. Came health, replacing the colour of violets. for the first time. She has fallen desperately in love with him, and the M: E il mio cor da me diviso si struggeva in fiamma lieve, And my heart began to glow, consumed by soft flames, pair are now lovers. come suol falda il neve discoperta ai rai del sole. As flakes of falling snow are melted in the sun’s rays.

Aria: Medoro

When Angelica has left, Dorinda finds Se il cor mai ti dirà, ch’io mi scordi di te, If your heart ever tells you that I’d forget you, Medoro and expresses her fears that Rispondigli per me ch’è menzognero. Tell it that it lies to you. he may be more than just a friend to Angelica. Medoro explains to her that Memoria se gradita altro che con la vita, Such cherished memories would never leave me, he owes Angelica his life and will soon mai non si partirà dal mio pensiero. and would only expire with my life. leave with her; rather disingenuously he reassures Dorinda that he will never forget her. Aria: Dorinda

Dorinda, knowing deep down that he O care parolette, o dolci sguardi! Oh charming words, sweet glances! is just flattering her, nevertheless Sebben siete bugiardi, tanto vi crederò Although you are lies, I would still believe you. decides to cheer herself up with his false words. Ma poi, che far potrò, But what can I do, allor che troppo tardi io vi conoscerò? When too late I have discovered the deception? Zoroastro warns Angelica to fear the wrath of Orlando, should he ever discover that she loves someone else. Seeing Orlando approaching, he conceals himself, resolving to protect Aria: Angelica Angelica and Medoro. Angelica reveals herself to Orlando, seeking to find a Se fedel vuoi ch’io ti creda, If you want me to think you faithful, way out of her situation; hoping that fa’ che veda la sua fedeltà. Show me that fidelity. he may be in love with Isabella, she feigns jealousy to discover whether Finchè regni nel mio petto il sospetto, As long as doubt reigns in my heart, this may actually be the case or not. mai l’amor vi regnerà. Love will never survive. Orlando vigorously denies any love for Isabella, declaring Angelica to be his true love. Angelica, hoist by her own petard, orders Orlando never to help Isabella again, or Angelica will disappear forever from his life. Recitativo: Orlando

Orlando dejectedly agrees to this, and T’ubbidirò, crudele; e vedrai in questo istante, I obey you, cruel one, and you will see, vows to honour Angelica with countless che della principessa fui solo difensor, ma non amante. that I only defended the princess, and did not love her. trophies of war.

Aria: Orlando

Fammi combattere, mostre e tifei, Go bid me fight monsters and beasts, novi trofei se vuoi dal mio valor. new trophies, if you want, of my love.

Muraglie abbatere, disfare incanti, Battlements to overturn, spells to unbind, se vuoi ch’io vanti darti prove d’amor. If you want me to prove my love to you.

Medoro rushes in as Orlando leaves, and demands to know whom Angelica was with. Angelica explains, and Terzetto: Medoro, Angelica and Dorinda knowing that he will never be a match for Orlando’s strength, tells him to M & A: Consolati o bella, gentil pastorella, Console yourself, dear, gentle shepherdess, save himself for love. She resolves to ch’alfine il tuo core e degno d’amore, e amor troverà. That your heart is worthy of love, and will find love. leave with Medoro and return to her Eastern kingdom to escape Orlando’s D: Non so consolarmi, non voglio sperare, No solace can I know, I don’t want to hope, wrath. Dorinda enters and sees them più Amor non può darmi l’oggetto d’amare che perder mi fa! Love will no longer give me the object I desire, in a passionate embrace. The couple which is now lost to me. can hide their love no longer, and reassure the dejected Dorinda that A: Non perder la spene, ch’è l’unico bene. Do not lose the hope which is one’s only joy. she too will one day find love. Angelica gives Dorinda a jewel as a token of her M: Hai l’alma costante per esser amante. Your constant heart was formed for love. thanks for her hospitality. D: No, solo fra pene il cor viverà. No, only in sadness will my soul now live.

Please do not turn the page until the music has ended. Act II

Arioso: Dorinda

The dejected Dorinda empathises with Quando spieghi tuoi tormenti, amoroso rossignolo, When you sing of your woes, amorous nightingale, a nightingale’s sad melody. par che canti e piangi allor. You seem to match your warbling to my sadness.

Aria: Dorinda

Orlando appears and demands to know Se mi rivolgo al prato, If I go to the fields, why Dorinda has told Angelica that veder Medoro mio in ogni fior mi fa. I see my Medoro in every flower. he was in love with Isabella. Dorinda denies this, and goes on to explain her Se miro il bosco o’l rio, mi par che mormorando or l’onde If I look at the forest or streams, in the waving branches, sadness at Angelica and Medoro’s love ora le fronde, for each other. When Orlando demands dicano si ch’amando qui’l tuo Medoro sta. I hear them say, ‘your loving Medoro is here’. proof, she shows him the jewel that Orlando has given her. Dorinda pines that she now sees Medoro in every flower and in every tree. Recitativo: Orlando

Orlando, devastated at this news, È questa la mercede, Angelica spietata! So this is your gratitude, spiteful Angelica! vows revenge on Angelica. Born under del mio amor, di mia fede? For my love, and my faithfulness? a spell of magic invulnerability, he Ah, non vi gioverà da me fuggire, You shall not escape me now, implores heaven to kill him too. che sino d’Acheronte sulla strada vi giungerà il mio sdegno, To the banks of Acheron my vengeance and my sword will e la mia spada! pursue you!

Aria: Orlando

Cielo! se tu il consenti, deh! fa che nel mio seno poss’anche Heaven! Let steel enter my breast. il ferro entrar.

Perchè a un sì rio dolore dal misero mio core For such an evil unhappiness sappia col ferro almeno l’uscita ritrovar. Only the sword would allow release.

INTERVAL (20 minutes) Please check that your mobile phone is switched off, especially if you used it during the interval.

Aria: Zoroastro

Zoroastro urges Angelica and Medoro Tra caligini profonde erra ognor la nostra mente, Through dark spaces our lost souls wander, to flee, promising to protect them on s’ha per guida un cieco nume. If we have a blind god as a guide. their journey. This nevertheless points to the moral that love can lead to ruin Di rovina sulle sponde è in pericolo imminente, Into ruins, the fatal path following, and into peril, and sadness if the light of reason is se ragion non le dà il lume. If reason does not light our path. not there to act as a guide. Recitativo: Angelica and Medoro

Angelica and Medoro are sad at A: Da queste amiche piante dovermi allontanar, quanto To leave these loving shadows upsets me so! having to leave the verdant caves mi spiace! and limpid streams where their love M: Addio prati! Addio fonti! Allori, addio! Farewell fields, farewell springs, trees, farewell forever. first blossomed. Medoro carves their names into the trees to preserve their memory there forever. Aria: Medoro

Verdi allori, sempre unito conservate il nostro nome, Verdant trees, always united, preserve our names, come unito sarà il cor. As our hearts are united. E poi dite a chi lo miri, da qual mano quando e come fosse And tell those who see, whose hand traced our names out in voi sì ben scolpito, so well, se volete che sospiri invidiando il nostro amor. When they envy our love.

Aria: Angelica

Angelica still feels guilty at having Non potrà, non potrà dirmi ingrata, He will not, he will not call me ungrateful, lied to Orlando; she tells herself perchè restai piegata d’un così vago stral. because I was pierced by such a beautiful arrow. however that he will understand, as he too has been pierced by love’s Se, quando amor l’offese, When love first struck him, arrow and will thus sympathise with ei pur mal si difese dall’arco suo fatal. he could not defend himself against its fatal bow. her predicament. Act II

Recitativo: Angelica

Angelica too bids farewell to the plants Tutto a poter partire ha già disposto il mio gradito amante. Everything has now been prepared by my beautiful lover. and streams that had brought her Addio, dunque vi lascio, amiche piante! Goodbye, I now leave you, beautiful scenery! such pleasure. Aria: Angelica

Verdi piante, erbette liete, Verdant trees, swaying grass, vago rio, speco frondoso, Beautiful river, shady cave, sia per voi benigno il ciel! May the heavens bless you!

Delle vostre ombre segrete mai non turbi il bel riposo May your secret shadows never be disturbed vente reo, nembo crudel. Nor their repose by cruel winds or dark storms.

Recitativo: Orlando and Angelica

Orlando rushes in on Angelica, vowing O: Ah! perfida, qui sei! Ah, faithless one, here you are! to kill her. Angelica pleads in vain for Medoro to rescue her. She tries to A: Chi mi soccorre, o Numi! Who will help me, oh gods! escape, and is rescued by Zoroastro’s Amor, caro Amore! Assistimi tu Love, dear love, help me now genies who sweep down from heaven tuo Nume imploro! Gods, I implore you! on a cloud and whisk her away. Ah Medoro, Medoro. Ah Medoro, Medoro.

O: Medoro chiami in van. You call Medoro in vain.

A: Dove m’ascondo? Where shall I flee?

O: Non fuggirai, se non vai in altro mondo! You will not escape, except for going to the underworld.

Accompagnato: Orlando

Orlando, enraged, curses heaven. Ah! Stigie larve, ah! scellerate spettri, Ah Stygian monsters, villainous spectres, Madness sets upon him – all the che la perfida donna ora scondete, That now hide that faithless woman, fury he was to expend on Angelica perchè al mio giusto furor non la rendete? Why do you not give her up to my wronged love and my now turns inward and he imagines just fury? himself a shadow, entering Hades. Ah! misero e schernito l’ingrata già m’ha ucciso! Ah, miserable, and forsaken, that ingrate has killed me! Hallucinating, he sees Medoro in the Sono lo spirto mio da me diviso, I am now a spirit divided from myself, arms of Proserpina, the wife of Pluto, sono um ombra, e qual ombra adesso io voglio varcar là giù I am a shadow and this shadow now will sink and runs to kill him, but suddenly ne’ regni del cordoglio! itself into the gloomy realms of woe! notices that Proderpina is crying, and Ecco la stigia barca; di Caronte il dispetto, There is the Stygian boat, in spite of Caronte, begs her to stop. Anger boils up inside Già solco l’onde, l’onde nere. I ride the waves, the black waves. Orlando once more, but before he is able to do himself any harm, Zoroastro Ecco di Pluto le affumicate soglie, Here the smoking throne of Pluto, appears and carries him to safety. e l’arso tetto! And the head of the god!

Già latra Cerbero, Now Cerberus howls, e già dell’Erebo ogni terrible squallida furia sen viene a me! And hideous furies scowl at me from every corner of the dead!

Ma la furia, che sol mi diè martoro, dov’è? But the fury that torments me singly, where is he? Questa è Medoro! That is Medoro! A Prosepina in braccio vedo che fugge, or a strapparla In Proserpina’s arms he sits, I wrest him from her… io corro…

Ah! Proserpina piange? Ah Proserpina weeps? Vien men il mio furore, se si piange all’inferno anco d’amore! My fury lessens, since even in Hell, love sheds tears.

Vaghe pupille no, non piangete no, Lovely eyes, do not weep,

che del pianto ancor nel regno può in ognun destar pietà. A sight so moving will make my rage abate.

Ma sì, piangete sì, che sordo al vostro incanto But yes, weep, for I am deaf to your weeping nè calma il mio furor. and will not calm my fury.

Please do not turn the page until the music has ended. Act III

Sinfonia Aria: Medoro

Medoro, separated from Angelica in the Vorrei poterti amar, il cor ti vorrei dar, I would like to be able to love you, my heart would like to confusion, returns to Dorinda’s hut and ma sai ch’il cor più mio non è. say to you, shamefacedly tells her that he would But you know that it doesn’t belong to me anymore. give his heart to her if he could, but E s’io ti dassi’l cor, a un cor, ch’è traditor, And if I gave you my heart, an untrue one, that it is no longer his to give. tu non daresti fè. it would only bring you sadness.

Recitativo: Dorinda

Dorinda comments on the madness of S’è corrisposto un core, teme ancor del suo amore: If a lover is successful, fear still plagues her, love and the folly which it creates. se un altro è mal gradito, prova il martir del barbaro but if the lover sees himself rejected he feels the horrors of Cocito. infernal pangs.

Nel mar d’amor per tutto v’è Io scoglio, The sea of love is strewn with dangerous rock, E vedo ben, che amare è un grand’imbroglio. and I see that love is a tremendous anguish.

Aria: Dorinda

Amore è qual vento, che gira il cervello, Love is like a gust of wind that spins the head, ho inteso che a cento commincia a farli godere, I’ve heard it starts well and is pleasing, ma a un corto piacere dà un lungo dolor. But after a short while, there is a long sadness.

Se uniti due cori si credon beati If two hearts are united, and believe themselves blessed, gelosi timori li fan sfortunati; jealousy and fear soon get the better of them; se un core è sprezzato, divien arrabiato, così fa l’amor. if a heart is betrayed, it becomes deranged. That’s what love can do.

Accompagnato and Recitativo: Zoroastro

Zoroastro appears and reaffirms the Impari ognun da Orlando, che sovente ragion si perde We see from Orlando that reason is frequently destroyed moral that reason is easily destroyed amando. by love. by love. He transforms the setting from a peaceful forest into a dark O voi, del mio poter ministri eletti, You heavenly beings, the wellspring of my power, cave, setting the scene for Orlando’s or la vostra virtute unite meco now unite with me. eventual return to sanity. si cangi’l bosco in speco! Change this forest into a cave!

Là al furor dell’eroe siatene attenti; Be attentive to the approaching fury of Orlando; che fra pochi momenti avrò vittoria, e l’eroe renderò sano And soon we will have victory, restoring the hero to glory. alla Gloria.

Aria: Zoroastro

Sorge infausta una procella, che oscurar fa il cielo e mare Rough tempests arise which obscure heaven and seas. splende fausta poi la stella A brighter star does then impart its rays che ogni cor ne fa goder. and gladdens every heart.

Può talor il forte errare, ma risorto dall’errore, The strong may often err, but when they see their error, quel che pria gli diè dolore, causa immenso il suo poter. What was once a source of woe, then turns to joy.

Duet: Angelica and Orlando

Angelica returns, and finds Dorinda A: Finchè prendi ancora il sangue, Until you cause my blood to flow, crying. When asked why, Dorinda can godi intanto de’miei lumi al mesto umor. Enjoy my tears of grief. barely tell her – the raging Orlando has destroyed her cottage, apparently O: Sol ha sete di sangue il mio cor. My fury thirsts for blood alone. burying Medoro in the rubble. Orlando appears and confronts Angelica, who A: Che dell’anima che langue questo pianto è sangue ancor. To this spirit that languishes, these tears are blood. devastated, begs him to kill her. O: Ma non placa il giusto furor. But they do not appease my righteous anger.

O: Vieni!... Vanne precipitando di queste rupi al baratro Come! Down into the deep chasm of perdition! profondo!

A: Numi, pieta! Gods, have pity! Act III

Accompagnato: Orlando

Orlando violently hurls Angelica Gia per la man d’Orlando d’ogni mostro più rio purgato è Now by Orlando’s hand the world is ridden of its worst into the cave, which is suddenly il mondo! monsters! transformed by Zoroastro into the Temple of Mars. Ora giunge la notte dalle cimerie grotte, Night descends from the gloomy caves, ed è seco Morfeo, che i papaveri suoi sul crin mi sfronda, With it comes Morpheus, whose poppies anoint my head, porgendo a gustar di Lete l’onda. And makes me taste the streams of oblivion.

Arioso: Orlando

Orlando triumphantly declares himself Già l’ebro mio ciglio quel dolce liquore invita a posar. Drugged by this sweet liquid, sleep comes upon me. to have ridden the earth of every Tu, perfido Amore, volando o scherzando non farmi destar. You, faithless love, spinning and mocking, will no longer monster and every evil spirit. Overcome disturb me. by tiredness, he imagines himself drinking the opiate waters of the river of Lethe, and falls asleep. Recitativo and Accompagnato: Zoroastro

Zoroastro proclaims that the hour Ecco è il tempo prefisso Now is the time has come for Orlando’s sanity to be Amor, fa’ quanto puoi, che Orlando schernirà gl’inganni tuoi. Love, you shall see that Orlando will shun your deceptions. returned to him; a bird descends from the moon with a phial, and Zoroastro Tu, che del gran Tonante coll’artiglio celeste il folgore sostieni, You, who sustain the great heavens, sprinkles the contents over Orlando. le mie leggi son queste: dalla region stellante che rapida a I instruct you: from the celestial spheres, fly swiftly to me, me vieni, bringing the precious liquid which shall restore Orlando’s reca il divin liquor per risanar dell’egro Orlando il core. ravaged heart.

Sinfonia Arioso: Orlando

The knight awakes, and Dorinda Per far, mia diletta, per te la vendetta Orlando si mora, si mora. To give you, dear one, some vengeance for your death, regales him with the horrific deeds Orlando himself shall die. he committed while insane- killing Angelica and Medoro. Overcome with Finale grief, Orlando resolves to kill himself. A: Dei viver ancora, dei viver ancora! Please, do not die! Angelica and Medoro appear, to Orlando’s joy, both having been saved O: Che vedo, oh Dei! Angelica, tu vivi? What do I see? Angelica, you live? by Zoroastro. Angelica forgives Orlando for his actions, and Zoroastro begs him A: Vivo, sì, e vive ancora chi amandomi t’offende, e vuol And so does the one who offended you... on behalf of the lovers for his blessing mia sorte… of their relationship. Orlando willingly concedes, and declares himself forever M: Signor, dammi la morte! Non ti chiedo la vita senza Sir, grant me death, for I could not live without her. the servant of valour and war. Dorinda colei, per cui mi sol gradita. invites everyone back to her cottage to celebrate. All join in praise of the equal Z: Orlando, al tuo furore, geloso di tua Gloria io fui custode, Orlando, I, watchful over your future glory, merits of love and valour. E dalla morte io trassi Angelica e Medoro: from your fury and impending death, e per ambo da te la grazia imploro. have saved Angelica and Medoro, and for both of them I plead for your grace.

D: Signor, vi priego anch’io sebben perdo (ho un gran cor!) Sir, I also implore you, even though I lose (I am forgiving!) Medoro mio. my Medoro.

O: Non più! Udite tutti, qual sia d’Orlando la più bella gloria. No more everyone, listen to what shall be Orlando’s greatest glory.

Vinse incanti, battaglie, e fieri mostri: He broke spells, won battles, and slew monsters: Di se stesso e d’amor oggi ha vittoria! He is now victorious over himself! Angelica a Medoro unita godi! Angelica and Medoro be joined together!

Tutti: Chi celebrar potrà mai le tue lodi! Now we celebrate your matchless praise!

O: Trionfa oggi’l mio cor, e da si bell’aurora And the dawn which now breaks shall be a prelude to a avrà piu bello ancora un giorno il vostro amor. brighter day of love.

A: Trionfa oggi’l mio cor, My heart triumphs over every woe, e con più lieta face la fedeltà, la pace risplenderà d’ognor. and constancy and peace await us both.

D: Mi scordo ogni dolor, oblio quel che m’affana: I forget every sorrow, everything that pained me: v’invito alla campanna, per festeggiar ancor! I invite you all back to my cottage to celebrate!

Tutti: Con un diverso ardor, giacchè ciascun è pago, With heightened passion, everyone is now rewarded, dar lodi sol sia vago a gloria all’amor. And equal praise given to the merits of love and valour. Artist Biographies

Gary Cooper Gary studied at Chetham’s School of Music and New Gary is an established conductor, working recently with Conductor College, Oxford. He is one of the foremost ambassadors of ensemble Arion in Montreal, the Irish Baroque Orchestra in the harpsichord and period piano. Gary’s many recordings and the Akademie für Alte Musik Berlin, for whom include an award-winning CD of Bach’s Well-Tempered he directed Lampe’s Dragon of Wantley to great acclaim. Clavier Book I, which was chosen as the Sunday Times For he has conducted Alcina and Classical Record of the Year, 2000. He recently performed Die Entführung aus dem Seraglio. He is Artist in Residence all of Mozart’s piano for the Tudeley Festival and for the Belgian period instrument ensemble, B’Rock. Plans Mozart piano concertos with the Mozart Festival Orchestra, include recital programmes throughout the UK and Europe, and also recorded Mozart’s Keyboard Variations on a 1785 and setting up a new period instrument ensemble. Viennese piano. Gary teaches harpsichord and at the Royal Welsh His duo partnership with Baroque violinist College of Music & Drama, Birmingham Conservatoire and has taken them worldwide and resulted in an acclaimed at York University, and has recently been appointed Visiting recording of Mozart sonatas for keyboard and violin. Professor of fortepiano at the .

Christopher Ainslie Christopher began singing as a chorister in Cape Town, and Johannes Passion; and Vivaldi’s Gloria. Medoro his home city. In 2005 he moved to London to study at the Royal College of Music. He now studies privately with Christopher is the winner of the Michael Prize in Mark Tucker, Paul Farrington and Audrey Hyland. the 2007 Handel Singing Competition, and recipient of the Hulbert Award through the London Handel Society. His performance in the title role of in the 2007 was highly acclaimed. Other Upcoming engagements include Arsace in Handel’s roles include the premiere of Birtwistle’s The Minotaur in les Azuriales Opera Festival, the title role at the ; Medoro (Orlando) for in Handel’s Rinaldo in Latvia, Cupid in Blow’s Venus & Independent Opera at Sadler’s Wells; Alessandro Adonis in Brugge and The Voice of Apollo in Britten’s () for the 2006 London Handel Festival and Death in for Opéra de Lyon. Arsamenes (Xerxes) at the Edinburgh Festival Fringe. Oratorio performances include Handel’s , Christopher is the recipient of the INDEPENDENT , and ; Bach’s Matthäus Passion OPERA Sponsored Artist Voice Fellowship.

Martene Grimson Martene graduated from the Sydney Conservatorium of Music Witch () for ; Mrs Gleaton Dorinda before moving to London where she completed her studies at (Susannah) and Laurette (Le Docteur Miracle) for Wexford the Royal College of Music’s Opera School Festival. With the Classical Opera Company she has sung and at the National Opera Studio. She was supported by the Hyacinthus (Apollo and Hyacinthus), Aminta (Il re pastore) Royal Opera House, Countess of Munster Musical Scholarship and Lucio Cinna (Lucio ). She recently made her debut and the Madeline Finden Memorial Award. She was awarded for the Nationale Reisopera as Glauce (Medea). second prize in the 2006 Kathleen Ferrier Competition. Current engagements include a Strauss tour of the UK for Recent concert engagements include Haydn with the Raymond Gubbay, her role debut as (Le nozze di Orchestra of the Age of Enlightenment; Gretel (Hansel Figaro) for Opera East, Melia (Apollo and Hyacinthus) and and Gretel) with the BBC Concert Orchestra and Brahms’ Sivene (Le cinesi) for Bampton Classical Opera and Trouble Requiem at the Royal Albert Hall. Operatic engagements in Tahiti with the Bayerischer Rundfunk in Munich. include Ilia (Idomeneo) for in Sydney; First

Rebecca Ryan Born in New Zealand, Rebecca first came to international Current engagements include Micaëla (Carmen) for the Angelica prominence when she gave the UK premiere of Handel’s RPO; Dorotea (Don Chisciotte in Sierra Morena) for rediscovered Gloria. She is an Associate Artist of the Musikwerkstatt Wien; Fauno (Ascanio in Alba) for the Classical Opera Company and, as a 2007 recipient of an Classical Opera Company; Pamina (Die Zauberflöte) for INDEPENDENT OPERA Postgraduate Voice Fellowship, is Southern Opera, Christchurch; Olympia/Giulietta/Antonia/ studying with Dame Anne Evans. Stella (The Tales of Hoffmann) for Mid Wales Opera; Lidka (The Two Widows) for Scottish Opera; Mozart’s Mass in Operatic roles have included Micaëla (Carmen) for RTÉ C Minor (St Endellion Festival), Tavener’s Sollemnitas in Concert Orchestra and University of Otago Opera; Angelica conceptione immaculate, Beatae Maria Virginis for the (Orlando) for INDEPENDENT OPERA at Sadler’s Wells and City of London Sinfonia; opera galas for Castleward Opera cover for the Royal Opera; Cherubino (Le nozze di Figaro) and “Four Seasons by Candlelight”, a tour for Raymond and Barmherzigkeit (Die Schuldigkeit des ersten Gebotes) for Gubbay. Her recordings include Silete venti for Naxos and the Classical Opera Company; and Mme Silberklang (Der Exsultate Jubilate for RTÉ TV, and she will record Mozart’s Schauspieldirektor) for Auckland Philharmonia Orchestra. Ch’io mi scordi di te for RTÉ TV’s The Symphony Sessions. Artist Biographies

William read English at Cambridge University and was ; Sorceress (Dido and Aeneas) and Lance William Towers a postgraduate scholar at the . (Sirius on Earth) for the Almeida Festival. Orlando His opera roles have included Medoro (Orlando) and Farnace (Mitridate re di Ponto) for the Royal Opera His oratorio and recital schedule has featured appearances House; Oberon (A Midsummer Night’s Dream) for in many major venues and festivals in the UK and abroad, Teatro Venice and the Royal Opera House’s with leading orchestras and ensembles. He recently sang Linbury Theatre; () for Frankfurt Opera; Belshazzar in the United States with Nicholas McGegan Poro (Poro) and Orlando at the Göttingen Handel Festival; and Philharmonia Baroque. His recordings include Handel’s Orfeo (Orfeo) with Opera North in Monte-Carlo; Messiah, Purcell’s Fairy Queen, Bach’s St. Mark Passion and Apollo (Death in Venice) for the Aldeburgh and Bregenz Orff’s Carmina Burana for BBC television. Festivals; Playing Away for Festpielhaus St Pölten; Ottone (L’incoronazione di Poppea) and Orlando for Future plans include for Gothenburg Opera, Opera Theatre Company; Lotario (Lotario) for the Death in Venice for La Monnaie in Brussels and concerts London Handel Festival; Eustazio (Rinaldo) for with the Northern Sinfonia and Philharmonia Baroque.

Originally from London, Nicholas graduated from Durham Amsterdam, Mr Noye (Noye’s Fludde) in the Two Moors Nicholas Warden University before continuing his studies at the Royal Festival, and Polyphemus (Acis and Galatea) with the New Zoroastro Academy of Music. He was recently awarded an ARAM. Chamber Opera in Oxford.

Recent operatic roles include Leporello (Don Giovanni) Nick’s concert and oratorio work has taken him to many for the Amersham Festival, Zoroastro (Orlando) for venues in the UK and abroad. His most memorable INDEPENDENT OPERA at Sadler’s Wells, a cover engagement has been to sing over the intercom from the bridge of Caronte (Orfeo) for a European tour conducted by of the QEII, to mark the occasion of the first ship returning to Emmanuelle Haïm, and L’ami in the premiere of Francois New York after the 2001 World Trade Center attacks. Cattin’s Et si Bacon…., based on the life of Sir Francis Bacon. Other roles have included the Priest (Hercules) at the Recent and future engagements include the Mongolian Soldier in Buxton Festival, Supt Budd (Albert Herring) in Antwerp, Judith Weir’s A Night at the Chinese Opera for Scottish Opera Brugge and Ghent, Bass (Icaru) in Antwerp, Tongeren and and Purcell’s Fairy Queen conducted by Emmanuelle Haïm.

Born in Johannesburg, Alessandro studied Music and History opera tableaux for the RAM. He has also worked as a staff Alessandro Talevi of Art at the University of the Witwatersrand before completing director at English National Opera. Artistic Director 2008 a postgraduate performance diploma in vocal accompaniment at the Royal Academy of Music. He was recently awarded For Independent Opera at Sadler’s Wells, he has third prize at the prestigious European Opera-Directing Prize in directed , Orlando and, most recently, Wiesbaden for his concept of . a double bill of Elizabeth Maconchy’s one-act operas The Sofa and The Departure. Alessandro has directed and designed opera productions in the UK and South Africa, including La voix humaine, Noye’s Plans include a double bill of L’occasione fa il ladro and Fludde and La princesse jaune (London Oratory Theatre), Un La Colombe for the Guildhall School of Music & Drama, giorno di regno (Pretoria) and Gräfin Mariza (Johannesburg). Partenope for Opéra les Azuriales at Cap Ferrat, Pelléas et Other recent work includes the revival of the Teatro la Fenice Mélisande for Independent Opera at Sadler’s Wells and production of Ariadne auf Naxos in Lucca and Bolzano, and La fedeltà premiata with at the RAM.

Natalie studied at the Sydney Conservatorium, the Guildhall Now pursuing a career as conductor, Natalie is a conducting Natalie Murray School of Music & Drama and the National Opera Studio. scholar for the London Symphony Chorus and has assisted Vocal Consultant She is a professor at the Royal College of Music and Rinaldo Alessandrini, Nicholas Kok, Peter Robinson, opera coach to the Jette Parker Young Artist Programme Dominic Wheeler and James MacMillan. She recently (Royal Opera House) and the National Opera Studio. conducted 20 Women Singing for the WNO, workshops Natalie is also Artistic Advisor and Vocal Consultant to of The Rake’s Progress and Don Carlo for the National Independent Opera at Sadler’s Wells. Theatre and the NOS contemporary opera showcase.

She began her career on the music staff of the Welsh Future engagements include conducting Handel’s Partenope National Opera and continues her association with them for Opéra les Azuriales, France and Assistant Conductor as a guest artist. She has also worked for Glyndebourne on Pelléas et Mélisande for Independent Opera at Festival Opera, ETO, Savoy Opera, Opera Holland Park Sadler’s Wells. and the BBC Cardiff Singer of the World. INDEPENDENT OPERA Artist Support

Independent Opera, in partnership with major UK promising career of a singer committed to both opera music schools and leading institutions such as Wigmore and song. Working closely with Independent Opera Hall and Sadler’s Wells, provides opportunities for throughout, Wigmore Hall mentors the recipient in young professionals in the field of opera. artistic and career development and in assembling a network of industry contacts. INDEPENDENT OPERA Artist Support, launched in sc h o 2007, is a broad effort designed to support young We wish all of our recipients the greatest of success la r s h artists involved in the staging and production of in their future careers and look forward to watching i

p s opera. Independent Opera’s current fellowship them flourish. programme includes one each for artistic directors, designers and choreographers, along with Voice For more information about INDEPENDENT OPERA fe llow sh Fellowships for singing lessons and coaching Artist Support or sponsorship opportunities, please ip s sessions. Our Sponsored Artist Voice Fellowship email [email protected]. provides financial assistance to an exceptionally talented individual pursuing an operatic career as Anna Gustafson a principal singer. Chief Executive, Artist Support erships rtn a Independent Opera at Sadler’s Wells p Beginning in October 2008, nine Voice Fellowships and six Voice Scholarships will be introduced into Current INDEPENDENT OPERA Artist Support recipients: the programme. These fellowships (for graduates) IO Sponsored Artist Voice Fellowship & e ag IO Postgraduate Voice Fellowship Christopher Ainslie n and scholarships (for students in their final year o r t

a of study) will be awarded in conjunction with the IO Postgraduate Voice Fellowship Alinka Kozari p opera programmes at the Guildhall School of Music IO Postgraduate Voice Fellowship Katherine Manley & Drama, the National Opera Studio, the Royal IO Postgraduate Voice Fellowship Rebecca Ryan Academy of Music, the Royal College of Music, IO Artistic Director’s Fellowship Alessandro Talevi the Royal Northern College of Music and the Royal IO Designer’s Fellowship Scottish Academy of Music and Drama. Sadler’s Wells / IO Choreographer’s Fellowship Vena Ramphal Wigmore Hall / IO Voice Fellowship Matthew Rose The Wigmore Hall / INDEPENDENT OPERA Voice Fellowship is designed to further an already www.independentopera.com

Matthew Rose British bass Matthew Rose studied at the Curtis the BBC National Orchestra of Wales, the Tonhalle Wigmore Hall / Institute of Music with Marlena Malas and Mikael Orchestra Zurich, Dresden Statskapelle, Guiseppe IO Voice Fellow Eliasen. He was a member of the Young Artists Verdi Symphony Orchestra and Le Concert d’Astree Programme at the Royal Opera House, Covent with conductors such as Colin Davis, Charles Garden, from 2003 to 2005. Mackerras, Roger Norrington, Charles Dutoit, Antonio Pappano, Daniel Harding, Ilan Volkov, Since leaving that programme, Matthew has sung Emmanuelle Haïm and Michael Tilson Thomas. in Un ballo in maschera, La juive, Carmen, He has sung in recital with Malcolm Martineau, Don Giovanni and A Midsummer Night’s Dream. Iain Burnside and Gary Matthewman. He has also sung at , English National Opera, Teatro Real Madrid, Opera de Lyon, Future engagements include a return to Covent Garden and at Glyndebourne, where he was the recipient of as Colline (La bohème), Crespel (Tales of Hoffman), the John Christie Award. Polyphemus (Acis and Galatea) and Harasta (The Cunning Little Vixen); and to Glyndebourne as Flint In concert Matthew has sung with the London () and Nick Shadow (The Rake’s Progress). Symphony, BBC Symphony, BBC Philharmonic, Matthew will also make his debuts at Santa Fe as Royal Philharmonic, City of Birmingham Symphony, Leporello (Don Giovanni) and at Houston and La Scala Philharmonia and Scottish Chamber orchestras, as Bottom (A Midsummer Night’s Dream).

14 (l to r): John Gilhooly, Director of Wigmore Hall, Anna Gustafson, Chief Executive Artist IO Voice Fellows Katherine Manley, Alinka Kozari and Christopher Ainslie with Founding Patrons Bill and Judy Bollinger Support at Independent Opera, and Matthew Rose, Wigmore Hall / IO Voice Fellow INDEPENDENT OPERA Artist Support

(l to r): Katherine Manley, Madeleine Boyd, Alinka Kozari, Christopher Ainslie, Vena Ramphal and Alessandro Talevi

INDEPENDENT OPERA at Sadler’s Wells Edition by Clifford Bartlett, used by arrangement with Head of Administration King’s Music. Emma Smith Administrative Assistant Photography Credits Chrissy Jay Page 1: Belinda Lawley; Page 3: Robbie Jack, Belinda Lawley; Page 4: Robbie Jack, Belinda Lawley; Public Relations Page 5-6: Belinda Lawley; Page 7: Belinda Lawley, Macbeth Media Relations Robbie Jack (centre); Page 8-9: Belinda Lawley; Page 10: Christopher Ridley, Tina Foster (centre); Programme book credits Page 11: Christopher Ridley; Page 12: Clive Barda Programme Editor Inge Kjemtrup Inside back cover: Chris Allerton; Back cover: Robbie Jack Programme Design Silk Pearce Programme Assistant Emma Smith All production photos are from INDEPENDENT OPERA at Sadler’s Wells’ 2006 production of Orlando. Acknowledgements We gratefully acknowledge Wigmore Hall for their Facilities for disabled people. support in staging this concert and for their Please contact House Management for full details. continued cooperation with the Wigmore Hall / Independent Opera Voice Fellowship. Independent Opera at Sadler’s Wells Telephone 020 7808 8580 Email [email protected] www.independentopera.com Registered Charity no. 1117559

Wigmore Hall 36 Wigmore Street, London, W1U 2BP Director John Gilhooly www.wigmore-hall.org.uk Registered Charity no. 1024838

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